TURKISH MUSIC DICTIONARY

Sabâ

1. In Turkish Classical Music, the name once used for the note hicâz (Do/C five komas sharp or Re/D four komas flat).

2. A compound makam of Turkish Classical Music, formed by adding a Sabâ tetrachord to the Zîrgûle'li Hicâz scale transposed to çargâh (Do/C). It is ascending and ascending-descendingin character. Its tonic is dügâh (La/A) and its dominant is çargâh (Do/C). Its suspended cadences are the flavors Zîrgûle'li Hicâz on çargâh (Do/C, Hicâz on gerdâniye (Sol/G), Nikrîz on acem (Fa/F) and Hüzzâm or Segâh on dik hisâr (Si/B one koma flat), as well as the Râst tetrachord on râst (Sol/G).

Sabâ-Aşîrân

A variant of the makam Sabâ used in Turkish Classical Music, formed by the addition of either the entire Uşşâk scale or the Uşşâk tetrachord transposed to hüseynî aşîrân to the scale of the makam Sabâ. It is descending in character. Its tonic is hüseynî aşîrân (Mi/E) and its dominants are çargâh (Do/C) and dügâh (La/A).

Saba-Bûselik

A variant of the makam Sabâ used in Turkish Classical Music. It was created by Dede Efendi by adding either the Bûselik pentachord or entire scale ton dügâh (La/A) to the scale of the makam Saba. Its tonic is dügâh, and its dominants are çargâh (Do/C) and hüseynî (Mi/E).

Sabâ Tetrachord (Sabâ Dörtlüsü)

In Turkish Classical Music, a four-note scale pattern based on dügâh (La/A) so as to form a diminished fourth.

Sabah Havası

A melody played on davul and zurna in order to awake the wedding guests and their hosts the morning after the wedding. See Tan Havası.

Sabahî

The name used in and around Ankara for the common Central Anatolian son "Çiçekdağı."

Sabâ-Kürdî

Sabâ-Uşşâk

Sabâ-Zemzeme

A variant on the makam Sabâ used in Turkish Classical Music, formed by adding a Kürdî tetrachord on dügâh (La/A - in its place) to the scale of the makam Sabâ. It is descending-ascending in character. Its tonic is dügâh (La/A) and its dominants are çargâh (Do/C) and nevâ (Re/D).

Sâdî

A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Safâ

A compound makam once used in Turkish Classical Music; a form of the makam Sabâ with modulations to Muhayyer and Uşşâk. No examples have survived to the present.

Safîr

A type of flute once popular in Istanbul.

Safîr-i Bülbül

A type of flute with a sound resembling that of a nightingale.

Sağır Perde

Lit. "Deaf Fret." Frets on the instruments of the Bağlama family for notes which are normally not used. They have a "hidden" function in that they enable certain transpositions.

Sağma

See Zahma.

Sağu

A lament; the term is used chiefly among the Central Asian Turkic peoples, as well as in some areas of Anatolia, especially Çanakkale, Isparta, Kastamon and Çankırı. There are different types with their associated names, such as Yiğit Sağusu, Gelin Sağusu, Asker Sağusu (Brave young man, Bride, Soldier), etc.

Sakıyl

A 48-beat major usûl used in Turkish Classical Music. It is a combination of one cycle of Sofyân, one of Sengîn Semâî, one Sofyân, three of Sengîn Semâî and four of Sofyân. Its 48/2 form is called Ağır Sakıyl. It is mostly used in compositions in the peşrev, kâr, best and ilâhî forms

Sakıyl-i Remel

A major usûl once used in Turkish Classical Music.

Sakıylü'l-Hezec (=Sakıyl-i Hezec)

A major usûl once used in Turkish Classical Music.

Salât

A form of Turkish religious music. It is a musical form of a prayer in respect for the Prophet Muhammad. There are various types according to purpose, including Cenaze Salâtı (Funeral Salât), Cum'a Salâtı (Friday Salât), Bayram Salâtı (Feast Salât), etc.

Salât-ı Ümmiye

A form of Turkish religious music.

Sallama

A folk dance danced in many different areas with different local music. In the Teke region it is danced by women while in the Bayburt and Gümüşane regions it is danced by men, and in Trabzon and Giresun, men and women dance it together.

Samah (=Semah)

Religious/mystical turning dances performed by Alevis/Bektashis at their religious ceremonies (See Ayin-i Cem), and the music that accompanies these dances. They are known by different names according to region: Divriği Semanı, Bozok Semahı, Kırklar Semahı etc. Musically, they are among the richest and most varied types of folk music. They usually consist of three sections, but may have less or more sections

Sanat Müziği

Lit. "Art Music." The term was first coined in order to identify the works of great Turkish composers such as Itrî, Dede Efendi etc. However over time, it departed significantly from its original meaning, and came to signify fasıl and religious music, and finally, the whole of entertainment music.

Santûr

A hammer dulcimer, once much used in Turkish music and closely identified with the Turkish composer Santurî Edhem Efendi, but today nearly forgotten. Although it was actually used in many different Asian cultures up until the early 20th century, the santur has now lost much of its popularity.

Sap

The neck of a stringed instrument.

Saray Müziği

Palace music. Throughout history, in every country, the palaces with their rulers as well as members of the aristocracy became centers of music, and the Ottoman palace was also an important center of musical culture. Turkish Classical Music developed within the limited environment of training by master musicians. The fact that Ottoman-Turkish music was taught in the Mekteb-I Enderûn, the largest palace school in the Ottoman Empire does not mean that this music actually developed in the palace. Despite the importance assigned to music in the palace and the fact that the palace provided for the creation of some its most important examples, this music actually developed and spread outside the palace. In this sense, rather than calling Turkish Classical Music "palace music," it would be more correct to see it as a genre of music supported by the palace.

Savt

Meaning "sung poetry" in Arabic, savt is a type of Arab gazel with a definite progression but no set meter. It is also the name of an old Turkish musical form. The name was mostly used for pieces sung in the dervish lodges. The lyrics of savt consist of several short repeated phrases.

Saz

1. In its most general sense, any musical instrument, but the word is used especially to define the members of the bağlama family.

2. An entertainment venue with music and drink; a music hall.

Sazbent

A term form instrumental ensembles in Southern Anatolia. See Mıtrıp.

Sazcı

A player of saz/bağlama. Although this term is still current in various regions of Anatolia, it has gained a disparaging meaning in urban centers and is thus considerably fallen from use, being gradually replaced by the term "saz sanatçısı" ("instrument artist").

Sâzende

An instrumentalist, a person who has attained mastery of his instrument. Not everyone who plays an instrument is called a sazende.

Sâz-ı Dûlâb

Sâz-ı Gaayî

Sâzkâr

1. An instrumentalist; the term is no longer used today.

2. A compound makam used in Turkish Classical Music, formed by adding the scales of the makms Segâh and Râst to the Uşşâk tetrachord on dügâh (in its place). It is descending-ascending in characger. Its tonic is râst (Sol/G), and its dominants are nevâ (Re/D), segâh (Si/B one koma flat) and dügâh (La/A). Its suspended cadences are the suspended cadences of the makams that comprise the makam (Uşşâk, Segâh and Râst), as well as the flavor Râst on yegâh (Re/D).

Sâz Semâîsi

One of the oldest instrumental musical forms of Turkish Classical Music. In the last to be played in the classical fasıl suite. In the old days, saz semâîs were composed to the usûls aksak semâî, sengîn semâî, yürük semâî and curcuna; today however, only aksak semâî is used. Saz semâîs generally consist of four hânes, but today there is no limit on the number of hânes; in addition, each hâne may be played in any makam and usûl desired.

Saz Şairi

Lit. "saz poet," an âşık or minstrel who sings his own or others' poetry with saz accompaniment.

Saz Takımı

A saz ensemble; which may be composed of various instruments such as bağlama, cura, darbuka, kabak kemane and kaval. Although these are professional groups that play for festivities, there are also non-professional saz groups among the people who play at their own private parties/celebrations.

Sebzî

Sebz-i Hisâr

A variant of the makam Sebzî once used in Turkish Classical Music. Its tonic is dügâh (La/A). No examples have survived to the present.

Sebz-i Tâze

A variant of the makam Sebzî once used in Turkish Classical Music. Its tonic is dügâh (La/A). No examples have survived to the present.

Segâh

1. In Turkish Classical Music, the note Do/C eight komas sharp or Re/D one koma flat in the middle octave. In the lower octave it is called kaba segâh, and in the high octave, tiz segâh.

2. A compound makam used in Turkish Classical Music, formed by adding a Hicâz tetrachord to a Segâh pentachord. It is ascending in character. Its tonic is segâh (Si/B one koma flat) and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Bûselik and Uşşâk on nevâ (Re/D), Segâh or Ferahnâk on dik hisâr (Mi/E one koma flat) and Râst on çargâh (Do/C).

Segâh-Acem

A variant of the makam Segâh used in Turkish Classical Music, formed by adding the scale of the makam Acem to a Segâh scale on dügâh (La/A). Its tonic is dügâh (La/A).

Segâh-Arabân

A variant of the makam Segâh used in Turkish Classical Music, formed by adding the scale of the makam Arabân to a Segâh scale on yegâh (Re/D). Its tonic is yegâh (Re/D).

Segâh-Arabânî

See Segâh-Arabân.

Segâh-Mâye

In Turkish Classical Music, there are two variations of the makam Mâye, one based on dügâh (La/A) and the other on segâh (Si/B one koma flat). Segâh-Mâye is the term for the second of the two.

Segâh-Muhayyer

A variation of the makam Segâh used in Turkish Classical Music, formed by adding the scale of the makam Muhayyer to a Segâh scale on dügâh (La/A). Its tonic is dügâh (La/A).

Segâh Pentachord (Segâh Beşlisi)

In Turkish Classical Music, a five-note scale pattern based on segâh (Si/B one koma flat) forming a perfect fifth. Although it shares the characteristics of the six pentachords that are used in forming the basic makams, it is not included with them because it is used in the formation of compound rather than simple makams.

Segâh Tetrachord (Segâh Dörtlüsü)

In Turkish Classical Music, a four-note scale pattern based on segâh (Si/B one koma flat) forming a perfect fourth. The addition of one whole tone produces the Segâh pentachord.

Seh-Endâr

Selmek

A compound makam used in Turkish Classical Music, formed of a combination of the makams Râst and Hüseynî. Its tonic is râst (Sol/G) and its dominants are nevâ (Re/D), dügâh (La/A) and hüseynî (Mi/E).

Selmek-Büzürg

A variant on the makam Selmek once used in Turkish Classical Music, formed by adding the scale of the makam Büzürg to the Selmek scale. Its tonic is râst (Sol/G). No examples have survived to the present.

Selmek-Hicâz

A variant on the makam Selmek once used in Turkish Classical Music. No examples have survived to the present.

Selmek-Rehâvî

Selmek-Zengûle

Sema

Religious/mystic dances created by the Mevlevî and Bektashi people as part of their belief. Although it is used in the form sema' by the Mevlevîs, the Bektashis use the term semah, especially in central and eastern Anatolia. The meaning of the sema' is very similar to both the Mevlevîs and Bektashis; in both groups, the music and dance tells of the ascent to the heavens and the cosmic voyages of the planets or stars.

Semah

See Samah, Sema'

Semai

1. A type of eight-syllable form of poetry in the hece meger, and the melodic patterns that accompany this poetry. Just as every poem in an eight-syllable hece meter is not a semai, this term is used in only a very few regions.

2. A form of secular vocal Turkish Classical Music. It is counted with the usûls Aksak Semâî, Yürük Semâî and various variations thereof.

3. One of two simple usûls in Turkish classical music. It has 3 beats. Used chiefly in şarkı forms, they also appear in the last hânes of saz semâîsis and some religious pieces.

Sengîn Semâî

Ser-Bend

In Turkish Classical Music, the old name for the mülâzime section of the peşrev form.

Segâh Pentachord (Segâh Beşlisi)

In Turkish Classical Music, a five-note scale pattern based on segâh (Si/B one koma flat) forming a perfect fifth. Although it shares the characteristics of the six pentachords that are used in forming the basic makams, it is not included with them because it is used in the formation of compound rather than simple makams.

Segâh Tetrachord (Segâh Dörtlüsü)

In Turkish Classical Music, a four-note scale pattern based on segâh (Si/B one koma flat) forming a perfect fourth. The addition of one whole tone produces the Segâh pentachord.

Sevgi

Seyir

Sıbızgı

The Central Asian name for a form of Pan flute consisting of eight to ten reeds.

Sıra Gecesi

The name for musical gatherings of friends held in Southern Anatolia and especially in the city of Şanlıurfa. They are hosted in turn ("sıra") by the regular participants. In the region, such gatherings are sometimes known simply as "sıra" or "sıra gezme."

Sıra Gezme

See Sıra Gecesi.

Sızlatma

1. To play an end-blown flute in such a way as to produce a simultaneous fifth or octave

2. To play the zurna, kaval or may in a vibrato style.

Simple Makam

(Turkish: Basit Makam.) A type of makam used in. Theoreticians have defined these types of makams based on the manner in which they are formed. According to theory, in order for a makam to be considered "simple," it must have a have an eight-note scale composed of the joining of a full tetrachord to full pentachord, or a full pentachord to a full tetrachord., and its dominant must coincide with the juncture of the pentachord and tetrachord. There are thirteen simple makams in Turkish music: Çârgâh, Bûselik (its descending form is Şehnâz Bûselik), Kürdî, Rast, Uşşâk (its descending-ascending form form is Beyâtî), Nevâ (its descending form is Tâhir), Hümâyûn, Hicâz, Uzzâl, Zîrgûleli Hicâz, Karcığar, Basit Sûz'nâk and Hüseynî (its descending form is Muhayyer).

Sînekemânı

Lit. "breast fiddle." Viola d'amore, an ancestor of the violin used in the West and in Turkish music. It generally had seven strings.

Sînekemânî

Sinsin

A semi-religious fold dance danced around a fire, and the music that accompanies these dances.

Sipihr

A compound makam used in Turkish Classical Music. There are two types. The first is known as Eski Sipihr ("Old Sipihr") and consists of a combination of the Şehnâz and Hisâr scales. The makam's new form is created by the combination of the Hisâr and Kûçek scales. The first type resolves on dügâh (La/A), and its dominant is hüseynî (Mi/E) as well as nevâ (Re/D). The new Sipihr's dominant is çargâh (Do/C). In the old Sipihr, the suspended cadences are the flavors Uşşâk on hüseynî aşîrân (Mi/E), Râst on nevâ (Re/D), Çargâh on çargâh (Do/C), and Segâh or Ferahnâk on segâh (Si/B one koma flat). New Sipihr also includes the suspended cadences on nîm hicâz and dik kürdî with no flavors.

Sipihr Hüseynî

A variant of the makam Sipihr used in Turkish Classical Music. It is formed by the addition of the scale of the makam Hüseynî to that of the makam Sipihr on dügâh (La/A - in its place). Its tonic is dühâh (La/A). No examples have survived to the present.

Sipihr-Uşşâk

A variant of the makam Sipihr used in Turkish Classical Music, formed by the addition of the Uşşâk scale on to a Sipihr scale on dügâh (La/A - in its place). It is descending in character. Its tonic is dügâh (La/A). Its suspended cadences are the flavors Uşşâk on hüseynî (Mi/E), Râst on nevâ (Re/D), Çargâh on çargâh (Do/C), and Segâh or Ferahnâk on segâh (Si/B one koma flat). No examples have survived to the present.

Sipsi

A woodwind instrument played in the Teke retion. It is constructed of a 15-20 cm tube of thin cane or wood with a single cane reed on the end called a cukcuk. It has one thumbe hole and five holes on the front.

Sipürde

In Turkish Classical Music, the tuning based on hüseynî (La/A) transposed to hüseynî (Mi/E). It is also known as Ahterî.

Sîreng

Sirto

Sofyân (Sûfiyyân)

A four-beat minor usûl used in Turkish Classical Music, and composed of two measures of Nîm Sofyân. This usûl is used in the şarkı, peşrev, oyun havası, tevşîh, several ilâhîs and rarely, best forms. It is more often used in folk music.

Sohbet

A music and dance gathering held in many parts of Anatolia. Literally meaning "conversation," these gatherings were originally held with the goal of promoting social harmony and solidarity, but in time music and dance were added as a means of entertainment.

Solak

The name used in the Erzurum region for the usûl Aksak in Köroğlu songs. Another feature of these songs is that they begin with a free-rhythm (uzun hava) section.

Son-Hâne

The name given to the last (generally the fourth) hâne in peşrevs and saz semâîsis.

Söz Müziği

Lit. "Word Music." The term used for the whole of music with lyrics. Turkish music includes an immense body of music with lyrics, which may include instrumental sections at any part of the piece. In Turkish music, such music is divided into two groups, the "great" forms (ex. Kâr-ı Nâtık, Kâr, Âyîn, Münâcât) and "small" forms (ex: Şarkı, Türkü, İlâhî, Nefes). These may be either religious or secular.

Sultânî-Evc

Sultânî-Hüzzâm

A variation of the makam Sultânî used in Turkish Classical Music. Its tonic is segâh (La/A).

Sultânî-Irâk

A variation of the makam Sultânî used in Turkish Classical Music. Its tonic is dügâh (La/A), and its dominant is nevâ (Re/D). It is descending-ascending in character. Its suspended cadences are the Segâh flavor on segâh (Si/B one koma flat), the Segâh trichord and Eksik Ferahnâk pentachord, the Râst and Uşşâk flavors on dügâh (La/A), the Segâh flavor on ırâk (Fa/F four komas sharp) and the Râst flavor on yegâh (Re/D).

Sultânî-i Cedîd

A variation of the makam Sultânî used in Turkish Classical Music, formed by adding the scale of the makam Ferahnümâ to that of the makam Şedd-i Arabân on yegâh (Re/D - in its place). Its tonic is yegâh (Re/D), and its dominats are dügâh (La/A) and râst (Sol/G).

Sultânî-Nevâ

A variation of the makam Sultânî used in Turkish Classical Music, formed by addıng a Râst pentachord on dügâh (La/A) to the scale of the makam Nevâ on nevâ (Re/D - in its place). It is ascending in character. Its tonic is nevâ (Re/D) and its dominant is dügâh (La/A).

Sultânî-Segâh

A variation of the makam Sultânî used in, formed by adding the scales Müsteâr and Şedd-i Arabân to the scale of the makam Segâh transposed to yegâh (Re/D). It is descending in character. Its tonic is yegâh (Re/D), and its dominants are segâh (Si/B one koma flat) and dügâh (La/A). Its suspended cadences are the same as those of the makams Segâh, Müsteâr and Şedd-i Arabân.

Sultânî-Yegâh

A makam used in Turkish Classical Music. Some theoreticians consider it to be a transposed (şed) makam. It is the makam Bûselik transposed to yegâh (Re/D). Descending in character, its tonic is yegâh (Re/D), and its dominant is dügâh (La/A). Its suspended cadences are the flavors Hicâz and Kürdî on dügâh (La/A), Bûselik on râst (Sol/G) and Kürdî on hüseynî aşîrân (Mi/E). Cadences may also be performed with no flavors on the notes nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat).

Sundar (=Sönder)

Sûriyye

A type of music played at feasts, weddings and celebrations.

Susta

The term for the middle section of a sirto. See Sirto.

Sûz-i Dil

1. The name used in some sources for the note dik acem-aşîrân.

2. A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (şed) makam. It is the makam Zengûle transposed to hüseynî aşîran (Mi/E). Descending in character, its tonic is hüseynî aşîran (Mi/E), and its dominant is bûselik (Si/B). Its suspended cadence is the Bûselik flavor on dügâh (La/A).

Sûz-i Dilâra

A compound makam used in Turkish Classical Music, formed by combining the scales of the makams Çargâh an Mâhûr. It is descending in character. Its tonic is râst (Sol/G) and its dominants are çargâh (Do/C) and nevâ (Re/D). It is the same as the makam Nigâr (See Nigâr), which was used earlier in Turkish music and forgotten over time. Its suspended cadences are the flavors Çargâh on nevâ (Re/D) and çargâh (Do/C), Nikrîz on râst (Sol/G), Çargâh on yegâh (Re/D), and Hicâz on dügâh (La/A).

Sûznâk

A simple makam used in Turkish Classical Music, formed by adding the Hicaz tetrachord to the Râst pentachord. This variant does not include the makam Zengûle as in its other variant (See Zengûleli Sûznâk). Its tonic is râst (Sol/G) and its dominant is nevâ (Re/D)

Süllem

The name given by Safiyuddin Urmevî to the foundation of the Turkish Classical Music system.

Sümmani Ağzı

A common folk makam of Northern and Northwestern Anatolia. Although it takes its name from Âşık Sümmani, the deyiş of other âşıks may be written in this pattern as well. Its most outstanding characteristic is that it consists of five beats, with pauses within the melody.

Sünbüle

1. In Turkish Classical Music, the name for the note La/A four komas sharp or Si/B five komas flat in the high octave.

2. A compound makam used in Turkish Classical Music. It is the old name for the makam Muhayyer-Sünbüle. No examples have survived to the present.

Şâh-Rûd

Şâne

Şarkı

1. A form of vocal music in Turkish Classical Music. Generally easy to understand and composed in minor usûlsit is the most-used form of Turkish music. Popular since the reign of Selim II, the şarkı form gained greatly in importance through the works of Hacı Ârif Bey. Şarkı are written in verse form; the verses are joined by refrains consisting of one or two lines. There is also usually an instrumental break between the verses called an aranağme, which may also be played as an introduction to the song.

2. A four-stringed folk instrument played with a plectrum. See Şarkîç

Şarkı Devr-i Revânı

A 13-beat minor usûl once used in Turkish Classical Music, which consists of one measure of the three-beat Semâî and five of the two-beat Nîm Sofyân. It was used in old and classical şarkı pieces. No examples have survived to the present.

Şarkı Düyeği

The old name of the usûl Devr-i Hindî.

Şarkî

A four stringed instrument played with a plectrum. In his Seyahatnâme (Travelogue), Evliya Çelebi states that this instrument was played mostly by Turkmen musicians.

Şed

Transposition. During this process, the intervals of the scale remain the same, which may require the use of sharp and flat symbols

Şedd-i Arabân

A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (şed) makam. It is the scale of the makam Zîrgûlei Hicâz transposed to the note yegâh. Descending in character, its tonic is yegâh (Re/D), and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Bûselik from gerdâniye (Sol/G), and Nikrîz (and rarely Râst) on râst (Sol/G).

Şedd-i Sabâ

Şed Makamlar (Transposed Makams)

A group of makams in Turkish Classical Music comprised of makams which have been transposed from their actual placement. Transposed makams undergo changes in their characteristics. Although a scale remains the same when played from different notes, the situation is different when the same scale in Turkish music with a differentname. With different conventions in modulation and other elements, these transposed (şed) makams take on the characteristic of a different makam. Whild the transposed makams are generally based on simple makams, they may also rarely be derived from compound (mürekkep) makams.

Şehnâz

1. In Turkish Classical Music, the name of the note Sol/G four komas sharp or La/A five komas flat in the high octave. In the middle octave it is called zengûle, and in the highest octave, tiz şehnâz.

2. A compound makam used in Turkish Classical Music, formed by adding the scale of the makam Hümâyûn transposed to hüseynî aşîrân (Mi/E) to the scales of Uzzâl, Hicâz or Hümâyûn. Descending in character, its tonic is dügâh (La/A), and its dominants are nevâ (Re/D) and hüseynî (Mi/E). Its suspended cadences are the Hicâz and Uşşâk flavors on hüseynî (Mi/E), and the Râst, Nikrîz and Bûselik flavors on nevâ (Re/D).

Şehnâz-Aşîrân

A variant on the makam Şehnâz used in Turkish Classical Music, formed by adding an Uşşâk tetrachord transposed to hüseynî aşîrân (Mi/E) to the scale of the makam Şehnâz. Its tonic is aşîrân (Mi/E).

Şehnâz-Bûselik

A variant of the makam Şehnâz used in Turkish Classical Music. There are two forms, one simple and one compound. The simple form is descending in character, with a tonic of dügâh (La/A) and the dominant hüseynî. The second, compound form is formed by adding a Buselik pentachord to the Şehnâz scale. Its tonic is dügâh (La/A), and its dominants are nevâ (Re/D) and hüseynî (Mi/E).

Şehnâz-Büzürg

A variation of the makam Şehnâz once used in Turkish Classical Music. It is formed by adding the scale of the makam Büzürg onto a Şehnâz scale on râst. Its tonic is râst. No examples have survived to the present.

Şehnâz-Hâverân

A variation of the makam Şehnâz once used in Turkish Classical Music. It is formed by adding the scale of the makam Irâk onto a Şehnâz scale on ırâk (Fa/F four komas sharp). Its tonic is irâk (Fa/F four komas sharp).

Şehnâz-Hicâz

A variation of the makam Şehnâz once used in Turkish Classical Music. It is formed by adding the scale of the makam Hicâz onto a Şehnâz scale on dügâh (La/A - in its place). Its tonic is dügâh (La/A). No examples have survived to the present

Şehnâz-Irâk

Şehnâz-Kûçek

A variant of the makam Şehnâz once used in Turkish Classical Music, formed by addıng the scale of the makam Kûçek to a Şehnâz scale on dügâh (La/A - in its place). Its tonic is dügâh (La/A). No examples have survived to the present.

Şehnâz-Kürdî

Şehnâz-Nevâ

A variant of the makam Şehnâz once used in Turkish Classical Music, formed by adding the scale of the makam Nevâ to a Şehnâz scale from dügâh (La/A - in its place). Its tonic is dügâh (La/A). No examples have survived to the present.

Şehnâz-Nişâbûrek

Şehnâz-Râst

A variant of the makam Şehnâz once used in Turkish Classical Music, formed by adding the scale of the makam Râst to a Şehnâz scale on râst (Sol/G). Its tonic is râst (Sol/G). No examples have survived to the present.

Şehnâz-Rehâvî

A variant of the makam Şehnâz once used in Turkish Classical Music, formed by adding the scale of the makam Rehâvî to a Şehnâz scale on râst (Sol/G). Its tonic is râst (Sol/G).. No examples have survived to the present.

Şehnâz-Uşşâk

Şehnâz-Zengûle

A variant of the makam Şehnâz once used in Turkish Classical Music, formed by adding the scale of the makam Zengûle to a Şehnâz scale on dügâh (La/A). Its tonic is dügâh (La/A). No examples have survived to the present.

Şehr-i Nâz (=Şehr-Nâz)

A compound makam once used in Turkish Classical Music, formed by adding a Çargâh scale transposed to hüseynî (Mi/E) to the makam Mâhûr. It is descending in character. Its tonic is hüseynî (Mi/E). No examples have survived to the present.

Şekil

A form, a shape.

Şelpe

The name for the technique of playing the bağlama and similar instruments with the hand and fingers rather than a plectrum

Şems-Cemâl

A compound makam used in Turkish Classical Music, formed by adding an Irâk scale to that of the makam Nihâvend. Its tonic is ırâk (Fa/F four komas sharp). No examples have survived to the present.

Şems-Efrûz

Şeref-i Hamîdî

The old name of the makam Şerefnümâ.

Şerefnümâ

A compound makam used in Turkish Classical Music. Its old name is Şeref-i Hamîdiye. Formed by adding a Râst scale transposed to yegâh (Re/D) to a Bayâtî scale transposed to aşîrân (Mi/E), it is descending in character. Its tonic is yegâh (Re/D), and its dominants are dügâh (La/A) and nevâ (Re/D). Its suspended cadences are the flavors Uşşâk or Hicâz on hüseynî (Mi/E), Nikrîz on râst (Sol/G), Bûselik, Râst or Hicâz on dügâh (La/A), a full or diminished Segâh or Ferahnâk pentachord or a Segâh trichord on ırâk (Fa/F four komas sharp), Bûselik on nevâ (Re/D), and Uşşâk on hüseynî aşîrân (Mi/E). Suspended cadences on nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat) with no flavor are also used.

Şeşber

A six-stringed instrument in the bağlama family, played with a plectrum, from the Kütahya region.

Şeşgâh

Şeşhâne

A six-stringed fretless instrument played with a plectrum, once used in Turkish Classical Music. Although it resembled the ud, its neck was longer.

Şeştâr

A fretted instrument with six double courses of strings once used in Turkish Classical Music. The strings were played with the fingers. Also, an instrument played by the Turkic peoples of Central Asia.

Şeştârî

A player of the şeştâr.

Şeştây

According to information provided by Abdülkâdir Merâgî, a stringed instrument resembling the ud and played with a plectrum. There were three varieties

Şevk

Şevk-Âver

A variant of the makam Şevk used in Turkish Classical Music, which was created in the late 18th century by Ârif Mehmed Ağa. It is formed by adding the makams Nihâvend and Acem-aşîrânto the makam Râst transposed to çargâh (Do/C). It is descending in character. Its tonic is acem-aşîrân (Fa/F), and its dominants are çargâh (Do/C), râst (Sol/G) and nevâ (Re/D). Its suspended cadences are the flavors Uşşâk, Hicâz and Kürdî on nevâ (Re/d); Nikrîz, Bûselik and Çargâh on çargâh (Do/C); Kürdî on dügâh (La/A) and Bûselik on râst (Sol/G).

Şevk-Efzâ

A variand of the makamŞevk used in Turkish Classical Music. It is formed by adding the makam Zengûle transposed to çargâh (Do/C) and a Nikrîz pentachord transposed to acem-aşîrân to the scale of the makam Acem-aşîrân on acem-aşîrân (Fa/F - in its place). It is descending in character. Its tonic is acem-aşîrân (Fa/F), and its dominants are gerdâniye (Sol/G) and çargâh (Do/C). Its suspended cadences are the flavors Nikrîz on acem (Fa/F), Hüzzâm on dik hisar (Mi/E one koma flat), Çargâh and Zirgûleli Hicâz on çargâh (Do/C), Kürdî on dügâh (La/A), Bûselik on râst (Sol/G) and Çargâh on acem-aşîrân (Fa/F).

Şevk-i Cedîd

Şevk-i Cihân

A variant of the makam Şevk once used in Turkish Classical Music.

Şevk-i Dil

A variant of the makam Şevk once used in Turkish Classical Music, formed by adding the scale of the makam Sûzinâk to a Râst scale on râst (Sol/G). It is descending in character. Its tonic is râst and its dominant is nevâ (Re/D).

Şevk-Engiz

A variant of the makam Şevk once used in Turkish Classical Music, formed by adding a Bûselik scale and an Uşşâk tetrachord transposed to aşîrân (Mi/E) to the scale of the makam Sûz-i Dil.

Şevk-u Tarâb: Şevk-Engiz

A compound makam used in Turkish Classical Music. It is formed by adding the makam Acem-aşîrân and a Kürdî tetrachord transposed to aşîrân (Mi/E) to the makam Sabâ. It is descending-ascending in character. Its tonic is aşîrân (Mi/E), and its dominants are çargâh (Do/C), dügâh (La/A) and acem-aşîrân (Fa/F). All of the features of its suspended cadences, which concentrate on the notes segâh and dügâh of the makam Sabâ (See Sabâ), are valid for the makam Şevk-u Tarâb as well. In addition, the entire basic scale of the makam Acem-aşîrân is used (See Acem-aşîrân), all of the suspended cadences for this makam are also valid for Şevk-u Tarâb.

Şeytan Deliği

Lit. "Devil's Holes," the holes on the lower end of zurnas and kavals which are not played but are opened for tuning purpose.

Şıdurgu

A four-stringed, long-necked instrument played with a plectrum, of the Uygur people in East Turkistan.

Şıkırdım Havası

The name of a 2/4 dance melody in the reagions of Sivas, Tokat and Çankırı.

Şinâver

Şirâz

Şirâz-Sünbüle

A compound makam once used in Turkish Classical Music, formed by adding the scale of the makam Sünbüle to a Şirâz scale on dügâh (La/A). Its tonic is dügâh. No examples have survived to the present.

Şirîn

A 44-beat major usûl used in Turkish Classical Music. It was created during the reign of Sultan Selim III by Sheikh Abdülbâki Nâsır Dede, but not used in later periods. It was used specifically in peşrev and beste forms.

Şirvan (=Şirvanî)

The name used in the Elazığ region for the makam Hicâz and certain melodic patterns in that makam. It sometimes occurs in the names of pieces; ex. Şirvan Oyun Havası, Şirvan Hoyrat, etc.

Şive

A local accent/dialect. The term is also used to identify a local musical style and especially a singing style.

Şîvekâr

Şîvekeş

Şivenümâ

A compound makam used in Turkish Classical Music. It is formed by adding the makams Acem-aşîrân and Sultâni Yegâh to the makam Ferahvezâ. Descending in character, its tonic is yegâh (Re/D), and its dominants are dügâh (La/A), çargâh (Do/C) and acem-aşîrân (Fa/F). The suspended cadences of the makams Sabâ and Ferahfezâ (See Sabâ and Ferahfezâ) are valid for the makam Şivenümâ as well.

Şofar

The shofar, the horn used by the Jews. It is also known to have been used in Turkish music, though not called by this name.

Şûbe

A term used in the classification of the makams of Turkish Classical Music.

Şugûl

An ilâhî composed by Turkish composers with Arabic lyrics.

Şur

A makam used in the folk music of Azeribaijan which bears some characteristics in common with the makam Uşşâk of Turkish Classical Music.

Şûrî

1. The name used for the note dik şehnâz (La one koma flat) in some old sources.

2. A compound makam once used in Turkish Classical Music. It is still used in Azerbaijani music.